Faith evans you a bad bad boy makes look so good
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At the time, Diddy was focused on building up a young Bad Boy Records, and he took an immediate liking to the beats Thompson was sending him. In the early Nineties, Thompson connected with Diddy for management. He decided, ‘I’ll put a percussion break in between songs.’ So we would finish a song, then I’d do a percussion break, and I’d do a call and response - ask the crowd, ‘y’all tired yet?’ That’s part of what started Go-go.” Chuck Brown said, ‘man, I’m losing business.’ I played congas with Chuck. When they came with the crossfader for DJs, they could play one record and slide right into the next to keep people on the dance floor longer. “Back then you either hired a band or a DJ. in 1968, and he came up steeped in one of the capital’s venerable local traditions: Go-go music. Though Thompson was closely identified with New York hip-hop and R&B in the Nineties, he was born in Washington, D.C. Those two energies together are the reason you can play a song like ‘Beat It,’ a record that came out in the 1980s, to kids today, and they’ll jump around like that shit is brand new.”
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You got Quincy who’s seasoned, older, and Michael is younger. “I look at what we did with as almost the same thing that Quincy Jones did with Michael Jackson. “You’re grabbing something that’s been classic for 20 years and then put it with a young perspective,” the producer said. In a recent interview with Rolling Stone, Thompson explained why his productions were so effective. You treated me like family from day one.” “You were the most gifted musician I have ever been around. “You were the kindest person the world has ever seen,” producer-engineer Young Guru wrote. Blige’s My Life album, the Notorious B.I.G.’s swaggering anthem “Big Poppa,” and Faith Evans’ cooled-out neo-funk “You Used to Love Me.” Blige’s album was certified triple-platinum, while both the latter two singles earned plaques of their own and still get played hundreds of times a month on the airwaves, according to Mediabase. Thompson’s credits in 19 alone were remarkable: He co-produced the majority of Mary J. Diddy and his crew of producers - a group known as the Hitmen that included Thompson - were integral to this shift. In the Nineties, mainstream hip-hop started to move away from building tracks on obscure samples, choosing instead to craft songs around loops of well-known refrains and bass-lines from earlier eras. A cause of death was not immediately available. Carl “Chucky” Thompson, a producer and multi-instrumentalist whose slick samples of Seventies and Eighties soul underpinned some of the most popular R&B and hip-hop tracks of the Nineties, died on Monday at age 53, his rep confirmed to Rolling Stone.